L AND FO R M
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LA N D FO R M
“Gustafson Porter + Bowman invent narratives about culture from a synthesis of nature, design and technology.”
— Jeremy Melvin Curator of the World Architecture Festival
‘Landform’ is the first in a series of publications which look at the development of our projects from concept design through to their completion, whilst contributing to the wider discourse on landscape architecture.
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The Mandala Makers AARON BETSKY
Shaping the land is difficult. It takes both vision and a lot of equipment to reshape masses of dirt or left-over planes of concrete and asphalt into places that invite inhabitation, bring people together, make you aware of where you are, and are a joy to behold – the basic task of landscape architecture. Luckily, new technologies make the process somewhat easier and, what is just as important, some of those same computer-based techniques let designers and users visualize spaces that previously they could only imagine. Gustafson Porter + Bowman has been quick to adopt and adapt the tools architects have been using for the last two decades, giving them the opportunity to create more complex and fluid landscapes than previously seemed possible. They have used that new power with elegance and gusto. These technologies have energized a practice that has always distinguished itself through an approach to landscape architecture that was essentially sculptural. Shaping and forming the land, both into the mode of terraced geometries that come out of the French and Italian traditions, and into the sensuous sequences developed in England, has been their forte, and they have done so successfully at scales that have ranged from small gardens to large public spaces. In recent years, they have dug deeper in their practice, uncovering the possibility of dirt, stone, concrete, and even water to reveal patterns and shapes that change in relationship to each other. The strongest example of this approach is still their Diana, Princess of Wales Memorial Fountain, which abstracts the natural flow of water of the Thames watershed through the centre of London into a stretched oval, itself an abstraction of the nearby ponds and lakes, and resolves itself into a watercourse whose intricacies, made possible by computer-guided design and milling, turn water into a visible form. Geometry and sculpture create experiences that allow us to remember and reconstruct the flow of (a) life. While it would be easy to follow the fluidity the computer almost demands without thinking, the practice has learned to apply the 2
same technology to the making of such parks as the Swiss Cottage Open Space, which reflects and skews the more orthogonal surroundings of London. They also are using their skill at moulding environments to create spaces for complex groups of users, as is evident at Cultuurpark Westergasfabriek in Amsterdam and the Valencia Parque Central. As the way we live becomes increasingly disconnected from both lived experience and the spaces that contain and frame us, Gustafson Porter + Bowman brings us back to reality through the sheer boldness and clarity of their built forms. Using some of the same technology that is dissolving our social relations into the electronic ether while eroding the physical, social, and economic structures that tie us together and to the world around us, they are strengthening, focusing, enhancing, and otherwise landscaping spaces that act as modern day mandalas.
Š Jason Hawkes
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Below Clay model for Valencia Parque Central (2011) Bottom Clay model for ‘Towards Paradise’ (2008) Below, right Kathryn Gustafson modelling in clay for Rhine Terrace (2012) Opposite page Plaster cast of a clay model for Taikoo Place (2016)
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Working with clay Drawings and words cannot solve the problem or convey the complexity of linking a sequence of objects and forms, of different heights and scales, with a seamless, almost fluid surface. Like skin stretched over muscle and bone, the creation of landform demands the use of a connective material that responds in a similar way to soil. That material is clay. Our need to work in clay is brought about by the desire to define and refine the landforms we create. They are not left to chance. Landforms hold and move the body in space. They allude, through changes of depth, level and scale, to a range of moods or narratives based on discovery and changing perceptions. When observed closely, landform allows the eye to track the movement of light and shade from dawn to dusk across the earth’s surface. Light passing over the surface reveals subtle variations in sloped, concave, and convex forms, which change in substance and spatial scale. The use of clay models allows us to perceive these changes in microcosm. By reacting like soil and manipulated in a similar way, working with clay closely resembles working with land.
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A model starts as a block of grey clay that depicts the existing context, including the position of buildings, roads, trees, and level constraints. This reveals how fragmented the existing landscape is and the elements that need connections. Using metal and wood sculpting tools, pencil sketches and even crude working plans, the moves needed to enable movement into and through space are traced into the clay’s surface. The slow process of shaving and layering clay interacts with layers of thought, further sketches and imagined human interaction within the space. All this is done with the knowledge that the clay is slowly drying and has the potential to shrink and crack.
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Our earliest landform projects were created prior to the development of sophisticated 3D software such as Rhino. The only way to manipulate a curved surface was to use clay. At the National Botanic Garden of Wales, our challenge was to convey the character of a dry, bright, and mountainous Mediterranean landscape beneath Foster + Partners’ glass dome. To entice visitors on a voyage of discovery a six-metre-deep ravine was cut into the ground. While the rock strata conveys depth, bridges allow one to leap over the deep gorge and balustrades are set back from precipices as if on a mountain walk. The design gave the landscape its own scale and horizon, thus allowing the glass dome to become the sky.
Opposite page, top Concept sketch showing ravine Opposite page, bottom Completed plaster model Below Terraces under construction Next page Interior view of the Great Glass House
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The landform at Swiss Cottage Open Space was generated by the need to create a planted local park that is immediately understood to be safe on entry. The curved landforms were cut into the slope of a hill to form a grassed amphitheatre that allows clear views across the space. By creating a comfortable hollow, one can sit or lay in the grass, watch a performance or play in the arc of water jets. The manipulation of the land created a second depression on the site for a five-a-side football pitch, cut into the ground to minimise the impact of its 3m-high fence.
Above Plaster cast of clay model Opposite page Completed scheme © Hélène Binet
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At Old Market Square in Nottingham, the existing square was awkwardly set out with walls and steps impeding movement across its surface and denying its use as the city’s most important meeting space. By cutting into the hillside, an accessible, large central space was created with seating terraces and an interactive water feature. Here, people observe daily movement and enjoy ongoing cultural events.
On completion of a sculpted clay landform, we build a timber frame into which liquid rubber is poured to preserve the form in reverse. Once set, this is filled with Plaster of Paris, horsehair or metal mesh as reinforcement. The plaster dries and the rubber mould is peeled back to reveal a glistening white plaster cast. The plaster is then scanned to create a 3D digital file.
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Below Clay model, in development Opposite, top Looking out across water feature © Dominik Bueckers Opposite, bottom Aerial photo of Old Market Square © Dom Henry
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Previous page Aerial photo above terraced areas at Old Market Square Š Martine Hamilton Knight Left Digital scan of Memorial model Below Finished clay model
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Clay to computer With only 2 years to design and build the Diana, Princess of Wales Memorial Fountain, we had to find new ways of generating complex 3D models that could be quickly used in the construction process. Kathryn and Neil worked together on a clay model which defined its basic form, but we needed an extremely malleable system that allowed us to tweak the design and ensure a continuous ribbon of water that worked technically and aesthetically. Scanning the plaster cast model allowed us to extract the base form of the clay model and bring it into a digital format to refine and add detail to the design. The complexity of the curvilinear shapes and the application of surface texture would not have been possible without a variety of digital processes. At the time of winning the design competition in the summer of 2002, we knew that the major challenge was to design and deliver the stonework in less than two years. We initially employed a designer who was trained in Rhino but it soon became evident that this software would not provide the digital information required for fabrication. We realised that CNC cutting would be much faster than traditional stone carving techniques. Furthermore, it became apparent that we did not have the in-house capability to complete the digital fabrication and so turned to specialists. We approached the research and development team at Ford Motors who had a highly accurate scanner commonly used in the automotive and aerospace industry. They produced a detailed 3D mesh of the plaster cast taken from the clay model. Surf Dev (Surface Development and Engineering), a design and 3D scanning company with expertise in developing accurate free form shapes were then commissioned to further develop the 3D model.
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Above 3D render of fabrication for the ‘Mountain stream’ © Texxus Bottom Design development of ‘Mountain stream’ © Texxus Opposite page 3D plan view © Texxus
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Previous page Digital image of ‘Mountain stream’ element © Texxus Below Construction photos showing CNC cutting of De Lank Cornish granite and assembly on site © Hélène Binet (Bottom right only)
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It was this collaborative working process between Gustafson Porter + Bowman and specialist designers and contractors that allowed us to reduce the number of traditional drawings required and work directly in digital format from design to fabrication. 1:100 plans and sections were developed to explore scale and form, and to coordinate services and fountain mechanics, but the production of the stonework was done entirely through the exchange of computer files. The team met weekly with SDE to refine the model which was completed after nine months. Such was the pressure of the programme that the stones at the top of the memorial were being laid before the design of the stones at the low point were completed. The basic form of the digital model of the fountain was named the ‘jelly mould’ which was then broken up into 545 separate stone block files for manufacture.
Creating the stone textures that define the different ‘moods’ of the fountain (Mountain Stream, Champagne Bubbles, Chaddar, Rock ‘n Roll) was also a challenge and required the expertise of another collaborator. Neil Porter had previously worked with the industrial designer John Gould who had recently established his own company, Texxus, specialising in the production of textured surfaces. Photographic images of natural features and fabrics were abstracted in Photoshop and then extruded using 3D Studio Max. The team then worked with software specialists Vero to develop the manufacturing process and stone masons McConnell & Sons to prototype the stone, analyse tool paths and trial machine cutting times. The laying of the stone was carried out by expert stone masons from Cathedral Works and Osborne who brought their knowledge of traditional craftsmanship to piece together the memorial, apply final finishes to the edges and engrave the final inscription which was carried out in situ. The use of both traditional techniques and innovative technologies was felt to be a fitting tribute to a modern princess.
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Opposite page Memorial showing sculptural form of Chadar and Reflecting Pool © Hélène Binet This page Photos showing effect of water running over textured stone © Hélène Binet
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In 2008 Gustafson Porter + Bowman were joint winners of the Gardens by the Bay competition, and received the commission to design Bay East in Singapore. This allowed us the opportunity to further explore the use of Rhino to create a series of complex curvilinear landforms that resemble the large tropical leaf shapes found in the region. Our concept design creates a series of themed garden spaces along the 2 kilometre-long waterfront of the newly-created Marina Bay, punctuated by a visitor centre, restaurants and cafes, spa, bathing pools and events spaces. Water inlets, cut deep into the plan of the park, attract breezes from the newly-created fresh water reservoir between the Kallang and Singapore rivers. Waterfalls and pools, fed by the bay, help oxygenate stagnant water and are cleansed through gravel and aquatic plant filtration in the water gardens. Surrounding the water inlets are mounds, terraces, slopes, and steps which create a three dimensional and elevated landscape, with views across the bay towards the city centre and the new Cooled Conservatories at Gardens by the Bay. The three-dimensional fluid nature of the landscape design was explored entirely in Rhino. Due to the scale of the project, it was not feasible to execute in clay. The software allowed us to coordinate the design of the landscape with building forms which were integrated below and within the planted landscape. We exchanged 3D files with the collaborating architects (Hamiltons) to refine the relationship between water levels, pathways, buildings, and the new waterside gardens.
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Below Concept sketches for land movement Below left + opposite page Model of landform illustrating the subtle change in level
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Fabrication and Earthworks
Sculpting the land, and the earthworks required to evolve a spatial choreography, does not evolve from purely aesthetic circumstances. On a large-scale landscape the motivation is often economic or environmental. Where does one place soil taken out of the ground to provide new roads and built infrastructure? How does one develop strategies for cleaning, or burying heavily polluted soils on site? Where do we place and catch reservoirs of water within predominantly hard-surfaced environments? These are the discussions often had with engineers at the start of our biggest projects. Landforms can soften the engineering solution and create a seamless relationship between the surrounding natural and urban contexts in which they are placed. At Cultuurpark Westergasfabriek in Amsterdam, the industrial production of gas from coal had rendered a 13 hectare site on the edge of the city centre unfit for habitation. The existing factory buildings and hard landscape provided low grade accommodation for the creative community, but the evolving wilderness that surrounded them needed to be put to use for a growing urban population.
Opposite page Construction at Cultuurpark Westergasfabriek Next page Photo of the stream garden Š Thomas Schlijper
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Given that Dutch regulations prevented the removal of polluted soils from the site, we developed a strategy with Arup and local engineers Tauw for moving and burying these soils, dependent on their proximity to existing buildings, hard and planted surfaces. Large quantities of soil needed to be removed from around each building to retain existing ground levels and clean soil needed to be brought in from other infrastructure projects. This necessitated an enormous cut and fill exercise of mounded and carefully mapped and layered soils. The least-polluted soil was placed in a long, east-west orientated mound to the south of the railway, protecting the park’s major events space for 10,000 people and its artificial lake (beach) from the noise of train movements. It also provides cyclists on the Amsterdam-Haarlem cycle route one of the best long distance views of the city. In the centre of the park, a long diagonal mound (broadway) created the environment for a woodland that separated the site’s large industrial buildings to create a landscape feature of a greater scale, thus increasing people’s perceptions of distance between the existing built elements.
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Below Inspection of contaminated soil on site © Westergasfabriek
The worst polluted soils were placed in two 7 metre-deep brick gas holder structures. These were capped with manufactured clay, topped with aquatic soils to create water gardens with floating boardwalks sheltered from the traffic noise on the Haarlemmerweg to the south. All the existing brick and concrete (Stelcon) paving was recycled to provide the park’s hard paving, whilst existing trees were retained by replacing soil from around their roots to give the park an instant maturity.
Below Construction of landform © Westergasfabriek
Cultuurpark Westergasfabriek’s landforms create a dynamic and sculpted sequence of spaces. These do not pretend to be natural, but feel like an abstraction of the highly engineered Dutch polder landscapes of dijks and canals and in turn gives the landscape its authenticity.
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Left Aerial photo showing finished scheme © Rob Feenstra
Above Landform adjacent to the artificial lake © Hélène Binet
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Our ability to model complex landforms was further explored through the competition for a new 23-hectare park in Valencia. The concept for Valencia Parque Central is to create a series of ‘bowls’ that allude to the tradition of ceramics and hospitality in the city. This celebrates the fertile agricultural belt (the Huerta) that produces the fruit and vegetables that the region is renowned for. The bowls form individual gardens with water as a unifying theme. The lowest level of each of the spaces acts to catch rainwater which is stored in below-ground collectors, before being returned directly to the aquifer. Earth is retained by large pre-cast concrete retaining walls that enclose the individual ‘bowls’ of the Huerta garden and the Children’s play area (pictured, right). Existing railway and agricultural buildings have been re-purposed for cultural and recreational use. They define threshold levels from which the large-scale movement of land creates enclosed terraced gardens. Water fountains and rills mark each of the entrances, using the natural gradient to draw people in to the centre of the park. A large water scrim with animated jets provides the focus for the restored railway shed which will house a community swimming pool. At Valencia Parque Central, the use of landform will dramatically alter the former flattened railway land in to one of Europe’s largest new contemporary urban parks.
Top ‘Bowls’ allude to the tradition of ceramics Left Plan of park Opposite page, top Construction of Phase 1, due for completion 2018 © Zeppeline / Valencia Parque Central Alta Velocidad 2003 S.A. Opposite page, bottom Photos showing construction of bowl-like spaces (Spring 2017)
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Selected Works
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CULTURE + HERITAGE
MASTERPLANS
NATIONAL BOTANIC GARDEN OF WALES Carmarthen, Wales 1998-1999 National Botanic Gardens
BARKING RIVERSIDE London, United Kingdom 2007-2009 Barking Riverside Ltd
GARDENS OF FORGIVENESS Beirut, Lebanon 1999-2006 Solidere
BAY EAST Singapore 2006-2009 NParks Singapore
DIANA, PRINCESS OF WALES MEMORIAL London, United Kingdom 2002-2004 Department for Culture Media & Sport
MEZYAD & HILI DESERT PARKS Abu Dhabi 2007-2012 Abu Dhabi Authority for Culture & Heritage
HM TREASURY COURTYARDS London, United Kingdom 2000-2004 HM Treasury
INTERNATIONAL QUARTER LONDON London, United Kingdom 2015Lendlease
TOWARDS PARADISE Venice, Italy 2007-2008 La Biennale di Venezia
TAIKOO PLACE Hong Kong 2015Swire Properties
HIGHPOINT London, United Kingdom 2017Mantra Limited
YORK CENTRAL York, United Kingdom 2016York Central Partnership
PARKS + GARDENS
PLAZAS
PUBLIC REALM
CRYSTAL PALACE PARK London, United Kingdom 1996-2002 London Borough of Bromley
OLD MARKET SQUARE Nottingham, United Kingdom 2004-2007 Nottingham City Council
NEW LUDGATE London, United Kingdom 2011-2015 Landsec
CULTUURPARK WESTERGASFABRIEK Amsterdam, Netherlands 1996-2006 City of Amsterdam
WOOLWICH SQUARES London, United Kingdom 2008-2012 Royal Borough of Greenwich
BUCKINGHAM GREEN London, United Kingdom 2013London & Oriental
SWISS COTTAGE OPEN SPACE London, United Kingdom 1999-2006 London Borough of Camden
ZEYTOUNEH SQUARE Beirut, Lebanon 2009-2012 Solidere
EUROPEA NEO BRUSSELS Brussels, Belgium 2013Unibail-Rodamco SE
CITYLIFE MILAN Milan, Italy 2009-2011 CityLife
HARBOUR SQUARE Beirut, Lebanon 2010-2011 Solidere
RATHBONE SQUARE London, United Kingdom 2013-2017 Great Portland Estates
VALENCIA PARQUE CENTRAL Valencia, Spain 2011Parque Central Alta Velocidad S.A.
TRINITY SQUARE Nottingham, United Kingdom 2012-2014 Nottingham City Council
MARINA ONE Singapore 2014-2017 Mapletree Investments
RHINE TERRACE Basel, Switzerland 2012-2017 Novartis Pharma AG
NEW SQUARE London, United Kingdom 2017 London Metropolitan University
MUSEUMPARK ROTTERDAM Rotterdam, Netherlands 2015Rotterdam Municipality
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We wish to thank our collaborators and clients who have supported our work and allowed us to create such expressive and engaging designs. With your ongoing support, we can continue to push the boundaries of landscape architecture worldwide.
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Above The team on site at Valencia Parque Central, December 2016
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